Gary Naylor - Page 9

Existential questions abound in world premiere of a musical that does not make the fur fly

Taut and razor-sharp verbatim adaptation of a famous debate from the 60s is entertaining and enlightening

Richard Vergette's one-man play is never less than engaging, but one wonders why here and why now?

Flabbergast Theatre take a bold approach to a familiar play and hit and miss along the way

As perfectly realised a revival as one could ever hope to see, full honour paid to both the incomparable source material and the times in which we live now

Mari Lloyd's new play will speak loud and clear to young people today, but misses a chance for dramatic development as its structure all but disallows the chance to see its subjects together in the same space.

Come for Nessun Dorma; stay for love's triumph over death

A comedy that certainly does not jump the shark, instead offering finely drawn characters, poignant moments and, most precious of all, big laughs.

Diverting comedy that never strays too far from some well-trodden paths

A bold and accessible Merchant that commits to exposing the antisemitism that suffuses the play

Such a lot of fun!

Verse and music enhances a production that straddles millennia

Following up Value Engineering, Richard Norton-Taylor and Nicolas Kent once more let the evidence speak for itself in a piece of verbatim theatre that still manages to shock us

A monologue that comes alive with photographs of the carnage of war but never quite settles its underlying moral ambiguity

Lovely to look at, funny and clever, a perfect tonic for these miserable days full of bills and empty shelves

London transfer of New York hit comedy gathers a few laughs, but feels out of step with the times

A powerful, hour-long work that uses repetition, poetry and disorientation to take us inside the minds of those who risk everything to escape their homeland.

Delightful new musical (based on the much loved novel and film) that deserves a wider audience than its short run affords

Peter Tate gives us a bullish Picasso, with his women projected on video, but they do need more of a voice to balance the narrative

Dystopian play, set 54 years in the future, raises questions about the direction of consumerism today